DOI Heft:
No. 270 (September 1915)
DOI Artikel:The National Competition of Schools of Art, 1915
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.21213#0267
National Competition of Schools of Art, 1915
The national competition
OE SCHOOLS OF ART, 1915.
There is a proverb which says that threat-
ened men live long, and it looks as if the National
Art Competition would survive, at all events for a
considerable period, the attacks that seemed at one
time likely to endanger its existence. And it is
encouraging to find that although the art schools
under the Board of Educa-
tion have paid their toll of
male students to the great
armies raised to defend the
country, the exhibition of
the National Art Compe-
tition showed no collective
falling off in quality or in
the number of works shown.
Taken altogether the exhi-
bition was at least as good
as that of last year, and in
the circumstances this is an
achievement. It is to be
hoped that the danger of ex-
tinction no longer threatens
the National Art Competi-
tion and that funds may
be found to extend its
range, in spite of the in-
evitable economies of the
State that must follow the
war. In the coming severe
competition for markets we
shall need all the skill of
our designers and crafts-
men, and everything should
be done to encourage the
practical teaching of the
applied arts in our schools.
The exhibitions at the
Victoria and Albert Mu-
seum might, however, be
more fully representative
of the work produced by
students in all parts of the
kingdom. It should be
possible to include each
year contributions from the
London Central School of
Arts and Crafts and from
the Royal College of Art,
and even to recover the
former connection with the
. STAINED-WOOD MIRROR-FRAME. BY JEANNE A. LABROUSSE (POLYTECHNIC
Scottish schools of art, in institute school of art, marylebone)
some of which excellent work is done. The
Scottish group, which in bygone years took a
prominent part in the National Art Competition,
is now represented by a single institution—the
Lauder Technical School at Dunfermline. But
of all the abstentions the most remarkable is that
of the Royal College of Art, to which attention has
been called more than once in the pages of The
Studio. At the Royal College the picked students
247
The national competition
OE SCHOOLS OF ART, 1915.
There is a proverb which says that threat-
ened men live long, and it looks as if the National
Art Competition would survive, at all events for a
considerable period, the attacks that seemed at one
time likely to endanger its existence. And it is
encouraging to find that although the art schools
under the Board of Educa-
tion have paid their toll of
male students to the great
armies raised to defend the
country, the exhibition of
the National Art Compe-
tition showed no collective
falling off in quality or in
the number of works shown.
Taken altogether the exhi-
bition was at least as good
as that of last year, and in
the circumstances this is an
achievement. It is to be
hoped that the danger of ex-
tinction no longer threatens
the National Art Competi-
tion and that funds may
be found to extend its
range, in spite of the in-
evitable economies of the
State that must follow the
war. In the coming severe
competition for markets we
shall need all the skill of
our designers and crafts-
men, and everything should
be done to encourage the
practical teaching of the
applied arts in our schools.
The exhibitions at the
Victoria and Albert Mu-
seum might, however, be
more fully representative
of the work produced by
students in all parts of the
kingdom. It should be
possible to include each
year contributions from the
London Central School of
Arts and Crafts and from
the Royal College of Art,
and even to recover the
former connection with the
. STAINED-WOOD MIRROR-FRAME. BY JEANNE A. LABROUSSE (POLYTECHNIC
Scottish schools of art, in institute school of art, marylebone)
some of which excellent work is done. The
Scottish group, which in bygone years took a
prominent part in the National Art Competition,
is now represented by a single institution—the
Lauder Technical School at Dunfermline. But
of all the abstentions the most remarkable is that
of the Royal College of Art, to which attention has
been called more than once in the pages of The
Studio. At the Royal College the picked students
247